White Boys, White Noise: Masculinities and 1980s Indie Guitar Rock

Bannister, Matthew

doi:10.4324/9781351218023

Cited by 32 publications

(35 citation statements)

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“…Straw 2013;Werner and Johansson 2016: 187), such differences between genres might be said to reinforce the gendering of music styles, possibly constructing dance/ electronic-and to some extent rnb/hiphop music-as more niche, exploratory and hence masculine genres than rock and gospel. This is in contrast to some traditional co-constructions of gender and music style, such as the positioning of rock music as masculine (Railton 2001;Bannister 2006;Whiteley 2013).…”

Section: Culture Unboundmentioning

confidence: 92%

“…Here, the rock/ pop binary is arguably the most well-cited: scholars have problematized the ways in which pop is typically attributed feminine characteristics and a mainstream, commercial orientation, whereas rock music is seen as masculine, authentic and of higher value-thus reproducing the marginalization of women in rock (Railton 2001). Similarly, gender relations are played out and naturalized in relation to other genres, manifested for example in the the co-construction of white masculinity and indie rock (Bannister 2006), the devaluation of women and gay rappers (Jeffries 2011;Berggren 2013), and male dominance in DJ culture (Gadir 2016). Typically, such studies point to the interconnectedness of gender, race, class and sexuality in relation to different music styles.…”

Section: Gender and Musicmentioning

confidence: 99%

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Tracking Gendered Streams

Eriksson

Johansson

2017

Cult. Unbound

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One of the most prominent features of digital music services is the provision of personalized music recommendations that come about through the profiling of users and audiences. Based on a range of "bot experiments, " this article investigates if, and how, gendered patterns in music recommendations are provided by the streaming service Spotify. While our experiments did not give any strong indications that Spotify assigns different taste profiles to male and female users, the study showed that male artists were highly overrepresented in Spotify's music recommendations; an issue which we argue prompts users to cite hegemonic masculine norms within the music industries. Although the results should be approached as historically and contextually contingent, we argue that they point to how gender and gendered tastes may be constituted through the interplay between users and algorithmic knowledge-making processes, and how digital content delivery may maintain and challenge gender relations and gendered power differentials within the music industries. Seen through the lens of critical research on software, music and gender performativity, the experiments thus provide insights into how gender is shaped and attributed meaning as it materializes in contemporary music streams.

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Section: Culture Unboundmentioning

confidence: 92%

Section: Gender and Musicmentioning

confidence: 99%

Tracking Gendered Streams

Eriksson

Johansson

2017

Cult. Unbound

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“…Lawrence Grossberg explica que la sensibilidad posmoderna se caracteriza por la lógica de un "nihilismo irónico" o "auténtica inautenticidad" 66 , la cual conecta con la estética del "arte anti-arte" del pop art 67 : ambas tratan de lograr legitimidad mediante la irónica conciencia de la naturaleza construida y artificial de sus textos, la cual no todo el público, sino sólo cierta "élite", sería capaz de percibir. Estos dos discursos (la posmodernidad y el "arte anti-arte" de Warhol) comparten ciertas estrategias con el glam rock de los setenta (incorporación de los mass media, rechazo de la autenticidad, pérdida del aura, etc.…”

Section: El Caso De Nancys Rubias: El Revival De La Auto-prefabricaciónunclassified

Retromanía, artificio y transgresión del glam en la música popular española del siglo XXI

Meléndez

2017

Cuad. música iberoam.

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El glam, la retromanía y su adaptación al mercado musical español La música popular de la primera década del siglo XXI se distingue por un sentimiento de nostalgia que provoca la sucesión e hibridación de diferentes revivals, lo que Simon Reynolds denomina retromanía 2 . Así, diferentes artistas y bandas trataron de volver al discurso del rock en el Retromania, Artifice and the Transgression of Glam in Spanish Popular Music of the Twenty-first CenturyLos comienzos del siglo XXI se han distinguido por la masificación de internet y la fragmentación de las audiencias, lo cual ha producido lo que Simon Reynolds (2011) denomina retromanía, es decir, la sucesión e hibridación de diferentes revivals definidos por un sentimiento de nostalgia. El discurso del glam, caracterizado por el énfasis en el artificio y en la transgresión de género, se ha insertado con facilidad en estos revivals debido a su eclecticismo y heterogeneidad musical. El objetivo de este trabajo es analizar cómo la transgresión asociada al glam se adaptó al contexto español en la década del 2000-2010 de manera similar a como se estaba haciendo en el contexto internacional: primero dentro del revival del rock (Babylon Chat, Circodelia) y más tarde recuperando tendencias de los años ochenta como la new wave (Glamour to Kill, Nancys Rubias).Palabras clave: glam, revival, autenticidad, queer, camp, masculinidad. Reynolds (2011) The early twenty-first century has been marked by the generalization of Internet and the fragmentation of audiences, which has led to what Simon

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“…It has been, and continues to be, a topic of debate across popular music, both in academia and within industry discourses and Moore's (2003) oft-cited paper positions it as a construct characterised by 'rawness ' (Frith and Horne, 1988:88) and unmediated communication (Grossberg, 1992(Grossberg, ,1993. It has become allied to a white masculinity (Bannister, 2006b, Leach, 2001) despite its historical link to 'difference' (Bannister, 2006a:58) and counter-cultural possibilities, particularly with providing space for women to perform and produce (Kruse, 2003;Reddington, 2007;Schilt, 2004;Leonard, 2007a). A seam through all of these conversations is the notion of 'authenticity' (Shuker, 2013: 18).…”

Section: Harvey the Archivistmentioning

confidence: 99%